Art education faces a critical juncture when a student steps out of the classroom and must present the fruits of their learning to a real audience—a realm where classroom exercises, grades, or an instructor’s approval are no longer the sole benchmarks for evaluating the work. The gap between mastering techniques and developing an independent artistic vision is a pivotal factor influencing the future paths of art students. To evolve into a creative individual with a distinct perspective, a student requires—beyond instruction in tools and methods—actual experience in observation, trial and error, presentation, critique, and engagement with the audience.
Elham Mohammadi-Nejad—a university lecturer, photographer, and researcher—has spent years teaching photography, graphic design, and printmaking while simultaneously pursuing a professional career in photography and visual projects. This blend of professional visual work and artistic research has fostered a multifaceted experience for her—one where teaching transcends the mere transmission of techniques, and the interplay between the classroom, practical experience, and the real-world art environment becomes paramount.
Recently, Elham curated two group exhibitions: “Inner Gazes, Outer Landscapes” (a photography exhibition featuring 34 students) and a group printmaking exhibition (featuring 39 students), both organized in collaboration with the Isfahan Province General Department of Culture and Islamic Guidance. From her perspective, the significance of this experience lies not merely in the number of artworks or the staging of an event; rather, the core objective is to create opportunities for students to step beyond the confines of formal education, gain experience in presenting their work, engage with an audience, and cultivate a personal artistic vision. The following interview with this art educator explores the relationship between education and experience, the role of exhibitions in an artist’s development, the nuances of learning photography, and the challenges faced by young talents.
Setting aside the exhibitions themselves, what is the primary issue you encounter in your teaching experience?
For me, the main issue is ensuring that students do not receive their education solely within the classroom. While the classroom is essential for learning, art education becomes more complete when students have the opportunity to gain practical experience. Presenting work in a real-world setting, engaging with an audience, and participating in an actual art event offer experiences that cannot be replicated through theory or in-class exercises alone.
Why is this real-world experience so important? What happens outside the classroom that cannot be experienced within it?
In the classroom, students usually create work for the sake of learning and practice; however, when the work is exposed to the public, the nature of the encounter shifts. Students must view their work from a different perspective and connect with the audience. This experience can lead to a more critical understanding of their own work and instill greater confidence as they move forward on their artistic journey.
Could it be said that there is a gap between teaching technique and nurturing an artist?
Teaching technique is necessary, but not sufficient. In fields like photography, graphic design, or printmaking, students must master tools and techniques, but they also need to discover their own unique vision. It is important to me that students do not merely know how to produce a piece of art; they should also be able to explain why they chose a particular subject, what they observed, and how they expressed their own feelings and perspective through the work.
You have spoken about photography in terms of the concept of “seeing.” Why do you consider the act of seeing so important in photography education?
In my view, photography is not merely about capturing an image; it is about seeing things that many people might simply walk past without noticing. In our classes, we strive to teach students to observe their surroundings more closely, discover beauty, and express their own personal feelings and perspectives through their images. When a student learns to see more precisely, their perspective on various subjects shifts as well.
How does this kind of “seeing” differ from simply taking a good photograph?
Someone might have a strong grasp of photographic technique yet lack a distinct personal vision in their work. Technique helps us capture what we want more effectively, but first, we must understand what matters to us and why we wish to see and express it. That is why our teaching goes beyond just technical skills; we aim to help students observe their environment more keenly and articulate what they see through their own unique lens.
An exhibition titled *Inner Gazes, Outer Landscapes* was held, featuring the work of 34 students. What did this experience reveal about the differences in the students’ perspectives?
For me, one of the most significant aspects of the students’ work is the diversity of their perspectives and worldviews. Several students might work on similar themes, yet each approaches the subject from a different angle. It is precisely this diversity of vision that gives the works their identity and artistic value. The exhibition showcased 34 pieces by students from Farhangian University, the University of Art, and the Iran Technical and Vocational High School, covering themes such as nature, social photography, and architecture.
A second exhibition, focused on printmaking, was held featuring 39 students. Does the experience of presenting work in this field differ from that of photography?
Every artistic discipline has its own characteristics, yet the fundamental experience of presentation and engagement with the audience remains the same. The printmaking exhibition featured 39 participants—including students from the University of Art and Farhangian University, as well as students from the Iran Art Conservatory—and showcased 39 works. It was important to me that these students take the results of their efforts out of the classroom setting and present them to an audience.
Can student exhibitions be part of the educational process?
Yes. I believe art education is more effective when students—beyond merely learning techniques—have the opportunity to experiment, test ideas, present their work, and have it seen by others. From this perspective, a group exhibition is not just a peripheral event; it can be an integral part of the educational and developmental process. Through this experience, students gain insight into the real-world art environment and can strengthen their creativity, attention to detail, self-confidence, and independent artistic vision.
One potential pitfall in art education is that student activities can devolve into mere assignment completion. How can we move away from this?
When students know their work will be seen, they develop a different sense of responsibility toward it. The piece is no longer just a classroom exercise; they must consider their choice of subject, the method of presentation, and how the work connects with the audience. This very process creates a unique experience for them.
What is the instructor’s role in this process? Should they act primarily as a source of knowledge transfer or as a guide for the student’s path?
In my view, the instructor should help students discover their own unique perspective. Not all students are meant to see things the same way or produce the same type of work. Differences in perspective matter; the instructor should recognize these differences and help students cultivate them.
Can the mere act of having one’s work seen guarantee a talented student’s future?
I wouldn’t make such a claim. Having one’s work seen is an experience that can boost a student’s confidence and encourage them to continue, but sustaining an artistic career depends on many factors. What matters most is that students have the opportunity to experiment and shape their own artistic vision.
A common concern is that many young talents drift away from artistic activity after completing their training. In your opinion, what can help them stay on this path? Providing opportunities for hands-on experience and visibility is crucial. When students familiarize themselves with the context of showcasing work and engaging with an audience during their training, they can pursue their paths with greater confidence. Sustaining such opportunities can effectively foster growth and help introduce young talent.
To take this a step further: what needs to happen for student exhibitions to move beyond being merely occasional, event-based activities?
The key is to view the exhibition as an integral part of the educational process; this means involving the student in the stages of creation, selection, and preparation prior to the showcase, and valuing their experience afterward. If this approach is maintained, the exhibition ceases to be a fleeting event and transforms into a genuine educational experience.
Could it be said that the experience of exhibiting work is, in itself, a form of education?
Yes, because at this stage, the student undergoes experiences that differ from what occurs in the classroom. They directly engage with the audience, the exhibition space, and their own work. This experience can become a vital part of the learning journey.
If you were to identify the most important shift needed in the approach to art education, what would it be?
In my view, we need to give students more opportunities to experiment. Art education becomes truly impactful when students do more than just learn techniques; they need the chance to observe, experiment, test ideas, present their work, and discover their own unique perspective.